Furniture

A very early and extensive Georg Jensen silverware service in the Akkeleje pattern, design #77 by Georg Jensen from 1918. Its unusual to find a large...

In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production centre in the lagoon of Venice, Italy. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture. Venini embarked on collaborations with architects and designers such as Cini Boeri, Tomaso Buzzi, Gio Ponti, Carlo Scarpa, Ettore Sottsass, Tapio Wirkkala, Gae Aulenti, and Massimo Vignelli. The ethos was to "take the Murano tradition of glass blowing and combine it with the French fashion industry's tradition of using designers". Here you can see a small lattimo vase "a mezza filigrana" realized by Venini on Carlo Scarpa...

Georg Jensen hand-hammered sterling silver bowl in pattern number 580, made between 1925 and 1932, measuring 4 7/8’’ diameter by 2 1/8’’ in height, weighing 6.9 troy ounces, and bear...

Georg Jensen Denmark sterling silver flared cup, circa 1919. A rare circa 1919 Georg Jensen Danish sterling silver flared cup. Lightly...

An early extra large Georg Jensen sterling silver pitcher, design #432C by Johan Rohde from 1920. This design for Rohde was the topic of many conversations between him and Georg Jen...

This dinner service was Georg Jensen's first set in stainless steel. It was designed in 1941 by Gundorph Albertus (1887-1970). Stainless steel was chosen due to the lack of silver during the Second World War. The name Mitra derives from the headware/hat of a Bishop (mitres-s) and resembles its distinct shape. 68 pcs of flatware dinner service...

A sterling silver fish service for twelve with matching serving set, in the Georg Jensen silverware pattern #55, design by Georg Jense...

A sterling silver Georg Jensen pitcher with hinged lid and ebony handle, design #385C by Jorgen Jensen, one of Georg Jensen’s sons. Jorgen Jensen designed for Jensen from 1936-1962, he is best known for his Art Deco designs. This pitcher is one of his earlier designs, the design is simplicity itself with just a small grape bunch under the handle and repeated on the lid. Hallmarks: Vintage Georg...

A pair of exceedingly rare Georg Jensen sterling silver three-light candelabra, design #855C by Sigvard Bernadotte from 1938. A tall reeded stem with a circle and floral cross, the t...

If you like vintage lighting then you will love this glass sconces by Carlo Scarpa for Venini. Designed with four vertical tubes and metal centre with one E14 bulb. In full working ...

An iconic Art Deco design, crafted in sterling silver by Harald Nielsen for George Jensen -- arguably the most renowned silversmith in the world at the time -- this hand mirror featu...

Beautiful antique Murano hand blown Sommerso clear white bubbles and gold flecks Italian art glass mini vase / vide poche. Documented to the Venini company, and created by master des...

A beautiful vintage Georg Jensen silver box with an oval shape. The Lid of the Box has a stylised floral cartouche and features a subtly hammered fin...

Christmas ornaments designed by Georg Jensen for the Collectibles series. Both ornaments are in brass gilded with 24-carat gold. Measures: 7" High x 6" Wide and approximately 1.19 ...

Georg Jensen sterling silver Cactus pattern bottle opener. Age appropriate wear from use.

Sterling heart ring by Georg Jensen and Henning Koppel, size 5, style #89. 10.6 grams, 1 1/4" long x 5/8" wide.

Acorn sterling silver dinner set. Made by Georg Jensen in Copenhagen. This set comprises 104 pieces (dimensions in inches): Forks: 12 dinner forks (7 3/4), 12 salad forks (6 5/8),...

Our circular sterling silver platter from Georg Jensen dates from circa 1930 and is in good condition, with a handful of scratches. Measure: 14.5 inches (36.8 cm) across.

Ladies Wristwatch of 18k gold by Vivianna Torun Bülow-Hübe for Georg Jensen, 1970s? ? Vivianna Torun Bülow-Hübe (1927–2004) was one of Sweden's most important 20th century silversmiths and the first female silversmith to attract international attention. She secured her first exhibition aged 21. By the late 1940s and early 1950s, she was part of the Paris art studio fraternity, counting Picasso and Billie Holiday as friends.? ? Torun created the Vivianna watch in 1962, a spoon-shaped ‘never-ending’ bangle with a mirrored dial and simple hands but devoid of numerals. Originally commissioned for an exhibition at the Musée des Arts Décoratifs in Paris, she said her decision to leave out the hour markers suggested a kind of non-time, so that each time the wearer looked at the dial, the message that ‘life is now...

Rare Georg Jensen, sterling silver 4-piece tea and coffee set, all beautifully hand hammered, with exquisite natural motifs and elegant proportions, designed by Georg Jensen circa 1910/1920, consisting of: - a coffee pot, measuring 10 3/4'' in height with the lid by 10 3/8'' from handle to spout, with a dark wood handle - a tea pot, measuring 9 3/4'' in height with the lid by 8 3/4'' from handle to spout, with a dark wood handle - a creamer, measuring 4 7/8'' in height by 8 1/8'' from handle to spout - a two-handled sugar bowl, measuring 3 3/8'' in height by 7'' from handle to handle Total weight is 79.2 troy ounces, and each bear hallmarks and pattern numbers (three of the pieces are in pattern 71B, the creamer is in pattern 177) as shown. The creamer is from 1925 to 1932 while other pieces are from circa 1945 to 1952, which places the set towards the beginning of the Georg Jensen silversmithing enterprise. This set is illustrated in authoritative books on Jensen, for instance on page 219 of "Georg Jensen A Tradition of Splendid Silver" by Janet Drucker, and as number 2 on page 74 in "Georg Jensen Holloware The Silver Fund...

A rare vintage sterling silver Georg Jensen round tureen with amazing floral decorations and underplate, design #337C by Georg Jensen from circa ...

Georg Jensen by J. Rohde sterling silver charger/ dinner plate in celebrated Acorn pattern number 642A. It measures 11'' in diameter by 3/4'', weighs 22.2 troy ounces, and bears hallmarks as shown. Johan Rohde hailed from a wealthy family and studied medicine prior to enrolling in the Royal Danish Academy of Fine Arts in 1882. A forward-thinking, anti-establishment artist, he left after less than a year, disillusioned by their refusal to accept modern trends. Rohde possessed a tireless creative mind and, in addition to painting and drawing, was also a lithographer, graphic artist, bookbinder, and designer. He embraced the Scandinavian design movement which, similar to the Arts & Crafts movement in America, encouraged the application of artistic sensibility to everyday objects. Rohde designed furniture and silverware for his own home, which led him to commission Georg Jensen to execute one of his hollowware designs. The collaboration was so successful that they continued working together, with Rohde designing and Jensen...

An exceptional, fine and impressive vintage Danish sterling silver Cactus pattern canteen of cutlery for six persons made by Georg Jensen; an addition to our antique flatware sets The pieces of this exceptional vintage Danish silver cutlery service in sterling standard have been crafted in the Cactus (Kaktus) pattern. The upper portion of each handle is embellished with an impressive Art Deco style organic design. This canteen of cutlery consists of 48 pieces: Basic Service: 6 Table knife 6 Table fork 6 Soup spoon 6 Dessert knife 6 Dessert fork 6 Dessert spoon 6 Teaspoon Additional Pieces: Pair of serving spoons Large cream ladle Small cream ladle Sauce ladle Gravy ladle The pieces of this silver flatware set, including the original knives, have been crafted by the renowned Danish silversmith Georg Jensen; many components of this exceptional service bear the London import hallmark for 1956. This vintage canteen...

This remarkable collection of crystal decanters, dating from the 20th century, comprises nine exquisite pieces, each paired with a corresponding Danish silver decanter label, skillfu...

Modernist sterling silver flatware set in the Cypress pattern, designed by Tias Eckhoff for Georg Jensen, Denmark, circa early 1950s. We have a full service for 12: each six-piece pl...

Set of four "Rialto" bookcases by Carlo Scarpa for Gavina. "In the early 1970s, Carlo Scarpa designed this model for his home. After three years of "enjoyable" discussions, Gavina ...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. A year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity. From 1927, Carlo Scarpa began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building that stands on the Grand Canal banks, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions, working on the Carlo Felice Theatre in Genoa and another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Called "Poliedri" in Italian and known as "Polyhedral" in English, this design was created by Carlos Scarpa (1906-1978) for Venini when he was their art...

12 JGK Norwegian gilt sterling silver Plique A Jour Demitasse spoons. 12 JGK Johan G. Kjaerland Norwegian gilt sterling silver Plique A Jour demitasse spoons. Beautiful twisted st...

This large undulating hallmarked stainless steel polished organic modern bowl was designed by Henning Koppel for Georg Jensen in 2011. It is biomorphic in form and has a beautiful ba...

Superb "Blok" by Georg Jensen sterling silver dinner size flatware set, 36 pieces. This service includes: 6 dinner knives, long handle, 9" 6 dinner forks, 7 1/8" 6 salad forks, 6 3/...

“Delfi” dining table, designed by Carlo Scarpa and Marcel Breuer and produced by the Italian manufacturer Studio Simon in 1969. Made of white Nax...

Dining table mod. Delfi designed by Carlo Scarpa and Marcel Breuer for Gavina. Composed of two sculptural bases and a rectangular top 4 cm thick. Made in Carrara marble. Italy 1968. ...

A beautiful Corroso a Bugne vase by Carlo Scarpa for Venini. With acid signature "Venini Murano" Literature: "Venetian Art Glass: An American Collection 1840 - 1970", Barovier, pag...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Vintage rocking chair designed by Georg Jensen in teak with new red Maharam wool upholstery. 16.5" seat height.

Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique creates a typical shading effect ...

Georg Jensen. Sterling silver pyramid vase #676 by Harald Nielsen. Crafted by Georg Jensen in Denmark and designed by Harald Nielsen 1892 - 1977. From ...

Blossom by Georg Jensen Gorgeous Blossom by Georg Jensen sterling silver soap dished marked #2. This piece measures 7/8" (h) x 5" (l) x 3 1/2" (w) ...

Ancient murrine form the pattern of a snake coiling up on glass. Conceived, redesigned and skilfully reinterpreted with rich contrasting colours, they reflect the highest craftsmansh...

Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique crea...

Ancient murrine form the pattern of a snake coiling up on glass. Conceived, redesigned and skilfully reinterpreted with rich contrasting colours, they reflect the highest craftsmansh...

Carlo Scarpa and Hiroyuki Toyoda for Simon Gavina, conference table, fabric top, chromed steel, Italy, design 1973 Elegant conference table was initially designed by Carlo Scarpa in...

Poliedri 951.27 APPLIQUE CR Additional Information: Color: Crystal Light Source: 2 x max 8W LED E14 Finishes: Chrome metal Dimensions: W 27 x D 27 x H 39 cm.

In these murrineworks, purity of form and essential geometry blend together to create rare, precious and timeless objects, just like the art of ancient Rome. In his quest for new gla...

esigned in 1906 by Georg Jensen, the Continental cutlery pattern was the first major cutlery range to emerge from the fledgling silversmithy that was established two years earlier in...

Blossom by Georg Jensen Outstanding Blossom by Georg Jensen sterling silver 4-piece coffee set. This set includes: 1 - Coffee Pot: Marked #2D, measures 8 3/8" tall x 8", and we...

Alternating light and dark coloured lines on shades of Coral, harmoniously following the guidelines produced by Carlo Scarpa. And reproduced by VENINI’s master glassblowers by using ...

In these murrineworks, purity of form and essential geometry blend together to create rare, precious and timeless objects, just like the art of ancient Rome. In his quest for new gla...

Vintage small vase green, burgundy and white runoff inlay in a form of amphora, design Carlo Scarpa Fratelli Toso Murano Murrine Millefiori. Murrine...

Georg Jensen is one of the world's most significant silversmiths, who formed an international following due to his innovative and sculptural work and his collaborations with other ve...

Exquisite Georg Jensen sterling silver table lighter in pattern 203A with small engraving on the body. A great gift and addition to one's...

In these murrineworks, purity of form and essential geometry blend together to create rare, precious and timeless objects, just like the art of ancient Rome. In his quest for new gla...

Beautiful antique Murano hand blown Sommerso clear bubbles in champagne or caramel color with gold flecks Italian art glass ashtray. Documented to Venini company, and created by mast...

American Colonial sterling silver bowl. Retailed by Georg Jensen USA in New York. Revere form with Tapering sides, flared rim, and curved bottom; step...

“Poliedri” chandelier designed by Carlo Scarpa and produced by the Italian manufacturer Venini in, 1958. Made of opaline Murano glass. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were to be set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa began work building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem”, [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure”. Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded 8 years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana”, “Quatour” and “Orseolo”. While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Countless Black and Coral pieces are woven together to form a symmetric yet imperfect pattern on slanted surfaces. VENINI’s glass grinding technique creates a typical shading effect ...

Valmanara table designed in 1971 by italian architect Carlo Scarpa for Simon International-Gavina. Oak wood with cerused varnish finish.